Joan Miró

Signed Miró in graphite c. r. and numbered 63/75 c. l.

Etching, aquatint and drypoint with carborundum in colours on Chiffon de Mandeure paper.

89.5 x 67.5 cm

35 1/4 x 26 5/8 in

Printed and published by Maeght, Paris

Edition number 63 of 75

Signed Miró and numbered 'XII/XXV' in graphite l.r.

Etching and aquatint with carborundum in colours on Arches paper.

31.4 x 71.5 cm

12 3/8 x 28 1/8 in

Printed by Arte Adrien Maeght, Paris

Published by Pierre Matisse Gallery, New York

Signed Miró in graphite l.r. and numbered 40/75 in graphite l.l.

Etching and aquatint printed in colours on Arches paper

73 x 104 cm

28 3/4 x 41 in

Printed and Published by Maeght, Paris

Signed Miró in graphite l.r. and numbered 9/50 in graphite l.l.

Lithograph on Japan paper with pearlescent finish

41 x 56 cm

16 1/8 x 22 in

Published by Louis Broder Éditeur, Paris

Signed Miró in graphite l.r. and numbered 53/75 in graphite l.l. Inscribed in graphite on the verso Tracé sur la paroi III', 'Nm 1247', '110/80

Etching and aquatint with carborundum on Chiffon de Mandeure wove paper

73.5 x 104 cm

29 x 41 in

Printed by Arte Adrien Maeght, imprimeur, Paris

Published by Maeght, Paris

Signed Miró in graphite and numbered 104 (printed in Arabic numerals) on the justification (this was an edition of 180, with an additional 25 hors commerce numbered in Roman numerals, and there was also an edition of 75 with large margins)

The complete set of 13 lithographs in colour, on Arches paper, the full sheets folded (as issued), with title and justification pages, and text by Alfred Jarry, all contained in the original grey-green linen covered portfolio and slip case.

Each unfolded 42.2 x 64.8 cm, 6 5/8 x 25 1/2 in

Printed by Mourlot, Paris

Published by Tériade, Paris

Rosa and Aaron Esman assembled an outstanding collection of Modern, Post-War, and Contemporary art over the course of their seventy-year marriage. The collection’s highlights mirror that of Rosa’s career as a gallerist and print publisher (which Aaron, a psychoanalyst, strongly supported), with interests in Modernism, Dada, Russian Constructivism, and American Pop Art taking center stage. Rosa got her start publishing artists’ print portfolios in the 1960s, including the New York Ten Portfolio, 1965, and Ten for Leo Castelli, 1967, which featured works by rising contemporary artists such as Andy Warhol, Roy Lichtenstein, and Robert Rauschenberg, and helped pioneer the field of artist’s editions and multiples. Her eponymous gallery exhibited in Manhattan for over twenty years, and she was a founding partner of Ubu Gallery, which is still in operation today.

When asked about her wide artistic tastes in 2009, Rosa emphasized her love of drawing, “the quintessential bit of the art,” which can be seen across the collection, regardless of genre.

The pair bonded over gallery visits when dating in the early 1950s. While Aaron already had begun collecting by then, the first work they purchased together was a drawing by Miró, early in their marriage. Rosa recalled: ‘sometimes we look at something, and I say, “Oh, isn’t that marvelous?”’ and Aaron would respond, ‘It’s for us.’

Founded on lifelong love, the Collection of Rosa and Aaron Esman gives a unique vision of the art movements of the 20th century that shaped New York’s art scene.

Signed Miró and numbered 26/50 in graphite l.l.

Colour aquatint on Rives wove paper

55.5 x 76.3 cm

21 7/8 x 30 in

Printed and published by Maeght, Levallois and Paris

Number 26/50

Each etching with aquatint signed Miró in graphite l.r. and numbered XI/XXV in graphite l.l. (7)

Six etchings with aquatint printed in colours on Japan nacre paper and one etching with aquatint printed in colours on Rives wove paper from the edition of 25, numbered from I to XXV

In the original case with additional unsigned lithographs as published (consult literature for extensive details)

Each unfolded

31.4 x 38 cm

12 3/8 x 15 in

Printed by Atelier Maeght, Levallois

Published by Pierre Matisse Gallery, New York

Signed Miró in graphite l.r and numbered 24/90 in graphite l.l.

Soft-ground etching with aquatint in colours on wove paper

31.5 x 45 cm

12 3/8 x 17 3/4 in

Printed and published by Maeght, Paris

24/90

Signed Miró in graphite l.r. and numbered 22/50 in graphite l.l

Etching and aquatint on BFK Rives paper (watermark l.l.)

29.8 x 50.5 cm

11 3/4 x 19 7/8 in

Printed by Crommelynck et Dutrou, Paris

Published by Louis Broder éditeur, Paris

22/50

Signed and dated in graphite Miró / 1948 in graphite l.r., numbered 22/75 in graphite l.l. and inscribed IX in graphite u.l.

From the portfolio of thirteen lithographs in black ink on Vélin purfil du Marais (watermark u.l.)

44.5 x 56 cm

17 1/2 x 22 in

Printed by Mourlot, Paris

Published by Maeght Éditeur, Paris

22/75

Inscribed and signed 'épreuve pour madame Lacourière, / affecteusement/ Miró below image. Dated Avril 39 l.r. Further inscribed 1939 l.l.

Etching on BFK Rives paper (watermark u.l.)

32.5 x 25 cm

12 3/4 x 9 7/8 in

Artist's proof aside from the numbered edition of 30

Engraved by Atelier Marcoussis

Printed by Atelier Lacourière, Paris

Published by Pierre Loeb, Paris and Pierre Matisse, New York

Signed Miró in graphite l.r. and numbered 9 /30 in graphite l.l.

Drypoint on Arches wove paper

33 x 45 cm

13 x 17 3/4 in

Engraved at Atelier Marcoussis

Printed by Atelier Lacourière, Paris

Published by Pierre Loeb, Paris and Pierre Matisse, New York

9/30